08 GERRIT RIETVELD, RIETVELD
SCHRÖDER HOUSE
09 FRANK LLOYD WRIGHT,
HOLLYHOCK (BARNSDALL)
HOUSE
10 RAYMOND HOOD AND
ANDRÉ FOUILHOUX, AMERICAN RADIATOR BUILDING
01 LÉON BAKST, BOEOTIAN
COSTUME DESIGN FOR THE
BALLET NARCISSE
25 WILLIAM VAN ALEN,
CHRYSLER BUILDING
02 PABLO PICASSO, CHINESE
CONJURER COSTUME FOR
THE BALLET PARADE
31 MAURICE PICAUD (PICO),
LA DANSE
06 JEANNE LANVIN, EVENING
ENSEMBLE
42 ROBERT ATKINSON,
RECEPTION HALL OF THE
DAILY EXPRESS BUILDING
27 RAYMOND TEMPLIER,
BRACELET WITH BROOCH
47 GOLDEN GATE BRIDGE
ARCHITECTURE
OVERVIEW
05 ARMAND-ALBERT RATEAU,
CHAISE LONGUE
03 RENÉ LALIQUE, DEUX PAONS
(TWO PEACOCKS)
12 ANDRÉ GROULT, CHIFFONNIER
15 OSWALD HAERDTL,
AMBASSADOR SERVICE
WINE DECANTER
13 ÉMILE-JACQUES RUHLMANN, ÉTAT CABINET
30 ENOCH BOULTON, JAZZ GINGER
JAR AND COVER
28 EILEEN GRAY, SCREEN
43 CHARLES JAMES,
WEDDING DRESS
FASHION & JEWELRY
34 JEAN DUNAND, LA FÔRET
FURNITURE
44 JEAN DUPAS, THE CHARIOT
OF POSEIDON
GLASS & CERAMICS
07 SONIA DELAUNAY, FABRIC
DESIGN NO. 6
14 JEAN THÉODORE DUPAS,
LES PERRUCHES
17 A.M. CASSANDRE,
L’INTRANSIGEANT
21 PAUL COLIN, PLATE 35 FROM LE
TUMULTE NOIR
19 HEINZ SCHULZ-NEUDAMM,
METROPOLIS
22 TAMARA DE LEMPICKA, JEUNE
FILLE AUX GANTS
20 MADAME D’ORA,
JOSEPHINE BAKER
24 GEORGIA O’KEEFFE, RADIATOR
BUILDING—NIGHT, NEW YORK
23 EDWARD STEICHEN, FRED
ASTAIRE
11 EDGAR BRANDT, THE OASIS
FOLDING SCREEN
29 ERTÉ, STAGE DESIGN FOR
“VICTOR HERBERT”
32 EDUARDO GARCÍA BENITO
CANDEE
16 FRANZ HAGENAUER, MIRROR
WITH WOMAN’S HEAD
33 BERNARD BOUTET DE MONVEL,
THE MAHARAJA OF INDORE IN
OCCIDENTAL DRESS
36 RENÉ VINCENT, BUGATTI
26 JACQUES LE CHEVALLIER,
LAMP
35 HERMAN SACHS, SPIRIT (OR
SPEED) OF TRANSPORTATION
46 GORDON MILLER BUEHRIG,
AUBURN 851 SC BOATTAIL
SPEEDSTER
37 EUGÈNE-ROBERT POUGHÉON,
LE SERPENT
48 JEAN PUIFORCAT, SOUP
TUREEN
41 TAMARA DE LEMPICKA, ADAM
AND EVE
METAL WORK
PAINTING
38 JOHANN VON STEIN, ROTTERDAMSCHE LLOYD
40 PIERRE FIX-MASSEAU,
EXACTITUDE
49 JOSEPH BINDER, NEW YORK
WORLD’S FAIR
50 ERTÉ, AUTUMN SONG
PRINTS & PHOTOGRAPHY
04 FRANÇOIS POMPON,
OURS BLANC
18 DEMETRE CHIPARUS,
FINALE
39 PAUL LANDOWSKI &
HECTOR DA SILVA COSTA,
CRISTO REDENTOR
45 PAUL MANSHIP,
PROMETHEUS
SCULPTURE
ART DECO
50 WORKS OF ART YOU SHOULD KNOW
Lynn Federle Orr
PRESTEL
Munich · London · New York
CONTENTS
INTRODUCTION 9
01 LÉON BAKST
Costume for a Boeotian 24
02 PABLO PICASSO
Chinese Conjurer Costume 26
03 RENÉ LALIQUE
Deux Paons (Two Peacocks) 28
04 FRANÇOIS POMPON
Ours blanc (Polar Bear) 30
05 ARMAND-ALBERT RATEAU
Chaise Longue 32
06 JEANNE LANVIN
Evening Ensemble 34
07 SONIA DELAUNAY
Fabric Design No. 6 36
08 GERRIT RIETVELD
Rietveld Schröder House 38
14 JEAN THÉODORE DUPAS
Les Perruches (The Parakeets) 50
15 OSWALD HARRDTL
Ambassador Service
Wine Decanter 52
16 FRANZ HAGENAUER
Mirror with Woman’s Head 54
17 A.M. CASSANDRE
L’Intransigeant 56
18 DEMETRE CHIPARUS
Finale 58
19 HEINZ SCHULZ-NEUDAMM
Metropolis 60
20 MADAME D’ORA
Josephine Baker 62
21 PAUL COLIN
Plate 35 from Le Tumulte noir 64
09 FRANK LLOYD WRIGHT
Hollyhock House 40
22 TAMARA DE LEMPICKA
Jeune fille aux gants
(Young Woman with Gloves) 66
10 RAYMOND HOOD & ANDRÉ FOUILHOUX
American Radiator Building 42
23 EDWARD STEICHEN
Fred Astaire 68
11 EDGAR BRANDT
The Oasis Folding Screen 44
24 GEORGIA O’KEEFFE
Radiator Building—Night, New York 70
12 ANDRÉ GROULT
Chiffonnier 46
25 WILLIAM VAN ALEN
Chrysler Building 72
13 ÉMILE-JACQUES RUHLMANN
État Cabinet 48
26 JACQUES LE CHEVALLIER
Lamp 74
27 RAYMOND TEMPLIER
Bracelet with Brooch 76
40 PIERRE FIX-MASSEAU
Exactitude 102
28 EILEEN GRAY
Folding Screen 78
41 TAMARA DE LEMPICKA
Adam and Eve 104
29 ERTÉ
Stage Design for “Victor Herbert” 80
42 ROBERT ATKINSON
Reception Hall of the Daily Express Building 106
30 ENOCH BOULTON
Jazz Ginger Jar and Cover 82
43 CHARLES JAMES
Wedding Dress 108
31 MAURICE PICAUD (PICO)
La Danse 84
44 JEAN THÉODORE DUPAS
The Chariot of Poseidon 110
32 EDUARDO GARCÍA BENITO
Candee 86
45 PAUL MANSHIP
Prometheus 112
33 BERNARD BOUTET DE MONVEL
The Maharaja of Indore
in Occidental Dress 88
46 GORDON MILLER BUEHRIG
Auburn 851 SC Boattail Speedster 114
47 GOLDEN GATE BRIDGE 116
34 JEAN DUNAND
La Fôret (The Forest, or Wild Animals
at a Watering Place) 90
48 JEAN PUIFORCAT
Soup Tureen 118
35 HERMAN SACHS
Spirit (or Speed) of Transportation 92
49 JOSEPH BINDER
New York World’s Fair/The World of Tomorrow 120
36 RENÉ VINCENT
Bugatti 94
50 ERTÉ
Autumn Song, from The Twenties Remembered
Suite 122
37 EUGÈNE-ROBERT POUGHÉON
Le Serpent 96
38 JOHANN VON STEIN
Rotterdamsche Lloyd 98
39 PAUL LANDOWSKI
Cristo Redentor (Christ the Redeemer) 100
BIBLIOGRAPHY / PHOTO CREDITS 124
8
INTRODUCTION
Fig. 1 George Barbier, Au revoir, 1920, pochoir, in George
Barbier, Le bonheur du jours, ou, Les graces à la mode, Paris:
Meynial, 1920, The British Library, London
Say “Art Deco” and a succession of images—a sassy long-legged flapper, a tapering skyscraper, a windswept roadster, the
zigzag pattern on a cigarette case—flash
by like frames of a movie. They seem unrelated, yet each is in sync with an era that
exuded glamour, pleasure, and escape.
Evocative of a unique historical moment,
Art Deco—as it is now called—embodies the passion for modernity that animated the years between World War I and
World War II (1918–39). Western society
experienced rapidly shifting social and
economic fortunes that precipitated incomparable structural, behavioral, and material
changes: with dizzying speed nearly every
facet of life was recast. Mechanization
intruded everywhere, and the dynamic
forms and rhythms of factory machinery—
from the repetitive geometries of gears
to the streamlined volumes of the driveshaft—imbedded themselves in the public
imagination. And a new aesthetic language
emerged, characterized by a love for ab-
10
straction, geometric and linear patterning,
and restrained ornamentation. In their inherent shapes and surface decoration, Art
Deco creations of all types embraced the
modern age—the machine age—and its
precisionist vocabulary.
Although perhaps partly a thin-skinned
bravura to mask the insecurities of the moment, new attitudes also prevailed. After
the trauma of recent war, including the
financial and physical ruin of much of Europe, novel life-affirming experiences were
the order of the day. Fun, if not joy, was
to be grabbed whenever the opportunity
presented itself (fig. 1), at the nightclub,
racetrack, or tennis court; life was to be
savored in every cigarette, cocktail, or
outing in a fast car. Cultivated relentlessly,
glamour pervaded one’s personal style; the
“high” arts of painting and sculpture, architecture and architectural decor, unique
one-of-a-kind decorative objects, and
even “lowbrow” mass-produced domestic
wares. In all realms, the soft curvilinear
forms and baroque extravagances of Art
Nouveau—already discredited among
artists and elite collectors before the
war—were dismissed as decadent and
old-fashioned. In its place a new mode of
personal and artistic expression seemed
in keeping with the postwar mood. And an
infectious sense of new beginnings left its
visual imprint on everything.
Women liberated out of necessity during
the war years refused at war’s end to return to the status quo. Standing in for men
away at the front, women had worked jobs
requiring ease of movement, resulting in
less restrictive clothing with bothersome
hair tucked under a cap and/or cut short.
The assertive young woman of the Roaring Twenties appeared in her classic shift
and bobbed hairdo, sporting ideas about
limitless possibilities. Pert and stylish,
she featured in innumerable advertising
campaigns. She was immortalized as the
tomboy in Victor Margueritte’s hit novel La
Garçonne (The Bachelor Girl, 1922) and as
the flapper heroine of F. Scott Fitzgerald’s
The Great Gatsby (1925). Convention-breaking stage icons, such as African American
Josephine Baker, scandalized and beguiled
society. And once getting into the act,
Hollywood promoted the modern woman
in films distributed worldwide. Whether a
“classy dame” played by Claudette Colbert
or Greta Garbo’s exotic dancer-turnedspy Mata Hari, the beautiful, leggy (and
mouthy) movie star became a cultural idol.
Coalescing first in Paris between 1908 and
1912, this new modern style took as its
starting point the then current mechanized
world. But designers also mined many
other sources, most importantly historic
European styles. At the same time, international exhibitions introduced an expanding range of enticingly “exotic” (to use a
contemporary term) non-Western design
traditions. Inspiration came from newly
discovered (or rediscovered) cultures, as
diverse in time and place as ancient Mesoamerica and African tribal arts. Other African inflections, derived from the musical
asymmetries and spirit of American Jazz,
soaked into the visual rhythms of decorative designs. Photographs reconstructing
Fig. 2 Georges Lepape, Cover of British Vogue, January 1925,
photo courtesy of the National Art Library, London
Howard Carter’s sensational 1922 discovery of the boy pharaoh Tutankhamen’s
tomb fueled a worldwide craze for things
Egyptian. Concurrently, contemporary art
with its succession of avant-garde isms—
Cubism, Fauvism, Constructivism, Futurism,
Neoplasticism—provided a wellspring of
motifs for the innovative designer.
Among other formative experiences was
the 1909 arrival of Russian impresario
Sergei Diaghilev and his spectacular ballet troupe. Innovative and edgy, the productions of the Ballets Russes electrified
Paris’s creative community. Diaghilev’s
company served as an incubator, fostering
innovation in all the performing arts. Not
satisfied with the conventional in any field,
11
UNVERKÄUFLICHE LESEPROBE
Lynn Federle Orr
Art Deco: 50 Works of Art You Should Know
Paperback, Flexobroschur, 128 Seiten, 19,3 x 24,0 cm
80 farbige Abbildungen
ISBN: 978-3-7913-8168-8
Prestel
Erscheinungstermin: August 2015